Digital, video and new media arts Books

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Book SynopsisTable of ContentsAcknowledgments Introduction. “An Invention without a Future” 1. The Avant-Garde(s) The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin The ABCs of Cinema (France, 1917–1921) Blaise Cendrars WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov The Method of Making Workers’ Films (USSR, 1925) Sergei Eisenstein Constructivism in the Cinema (USSR, 1928) Alexei Gan Preface: Un chien Andalou (France, 1928) Luis Buñuel Manifesto of the Surrealists Concerning L’Age d’or (France, 193) The Surrealist Group Manifesto on “Que Viva Mexico” (USA, 1933) The Editors of Experimental Film Spirit of Truth (France, 1933) Le Corbusier An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) László Moholy-Nagy Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute Prolegomena for All Future Cinema (France, 1952) Guy Debord No More Flat Feet! (France, 1952) Lettriste International The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand The Only Dynamic Art (USA, 1953) Jim Davis A Statement of Principles (USA, 1961) Maya Deren The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice From Metaphors on Vision (USA, 1963) Stan Brakhage Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. Discontinuous Films (Canada, 1967) Keewatin Dewdney Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton Elements of the Void (Greece, 1972) Gregory Markopoulos Small Gauge Manifesto (USA, 198) JoAnn Elam and Chuck Kleinhans Cinema of Transgression Manifesto (USA, 1985) Nick Zedd Modern, All Too Modern (USA, 1988) Keith Sanborn Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas The Decalogue (Czech Republic, 1999) Jan Švankmajer Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman 2. National and Transnational Cinemas From “The Glass Eye” (Italy, 1933) Leo Longanesi The Archers’ Manifesto (UK, 1942) Michael Powell and Emeric Pressburger What Is Wrong with Indian Films? (India, 1948) Satyajit Ray Buñuel the Poet (Mexico, 1951) Octavio Paz French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini A Certain Tendency in French Cinema (France, 1954) François Truffaut Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem Free Cinema Manifestos (UK, 1956–1959) Committee for Free Cinema The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos How to Make a Canadian Film (Canada, 1967) Guy Glover How to Not Make a Canadian Film (Canada, 1967) Claude Jutra From “The Estates General of the French Cinema, May 1968” (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen What Is to Be Done? (France, 197) Jean-Luc Godard The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. Manifesto I (Denmark, 1984) Lars von Trier Manifesto II (Denmark, 1987) Lars von Trier Manifesto III: I Confess! (Denmark, 199) Lars von Trier The Cinema We Need (Canada, 1985) R. Bruce Elder Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine Cinema and Underdevelopment (Argentina, 1962) Fernando Birri The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha For an Imperfect Cinema (Cuba, 1969) Julio García Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino Film Makers and the Popular Government Political Manifesto (Chile, 197) Comité de cine de la unidad popular Consciousness of a Need (Uruguay, 197) Mario Handler Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez The Cinema: Another Face of Colonised Québec (Canada, 1971) Association professionnelle des cinéastes du Québec 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. The Luz e Ação Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjinés Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Fédération panafricaine des cinéastes) Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema What Is the Cinema for Us? (Mauritania, 1979) Med Hondo Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Fédération panafricaine des cinéastes) Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri FeCAViP Manifesto (France, 199) Federation of Caribbean Audiovisual Professionals Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 199) SADCC (South African Development Coordination Conference) Pocha Manifesto #1 (USA, 1994) Sandra Peña-Sarmiento Poor Cinema Manifesto (Cuba, 24) Humberto Solás Jollywood Manifesto (Haiti, 28) Ciné Institute The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos Woman’s Place in Photoplay Production (USA, 1914) Alice Guy-Blaché Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono Statement (USA, 1969) Kenneth Anger Wet Dream Film Festival Manifesto (The Netherlands, 197) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) Women’s Cinema as Counter-Cinema (UK, 1973) Claire Johnston Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Fédération européenne du cinéma progressiste) Womanifesto (USA, 1975) Feminists in the Media Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjöman For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen Wimmin’s Fire Brigade Communiqué (Canada, 1982) Wimmin’s Fire Brigade Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Fédération panafricaine des cinéastes) Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windeløv, Lene Børglum, et al. Cinema with Tits (Spain, 1998) Icíar Bollaín My Porn Manifesto (France, 22) Ovidie No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow Barefoot Filmmaking Manifesto (UK, 29) Sally Potter Dirty Diaries Manifesto (Sweden, 29) Mia Engberg 5. Militating Hollywood Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals Screen Guide for Americans (USA, 1947) Ayn Rand White Elephant Art vs. Termite Art (USA, 1962) Manny Farber Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg Full Frontal Manifesto (USA, 21) Steven Soderbergh 6. The Creative Treatment of Actuality Towards a Social Cinema (France, 193) Jean Vigo From “First Principles of Documentary” (UK, 1932) John Grierson Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston Declaration of the Group of Thirty (France, 1953) Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al. Initial Statement of the Newsreel (USA, 1967) New York Newsreel Nowsreel, or the Potentialities of a Political Cinema (USA, 197) Robert Kramer, New York Newsreel Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog Defocus Manifesto (Denmark, 2) Lars von Trier Kill the Documentary as We Know It (USA, 22) Jill Godmilow Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy Documentary Manifesto (USA, 28) Albert Maysles China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival 7. States, Dictatorships, the Comintern, and Theocracies Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Münzenberg The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas Creative Film (Germany, 1935) Joseph Goebbels Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI Four Cardinal Points of A Revolução de Maio (Portugal, 1937) António Lopes Ribeiro From On the Art of Cinema (North Korea, 1973) Kim Jong-il 8. Archives, Museums, Festivals, and Cinematheques A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski The Film Prayer (USA, c. 192) A. P. Hollis The Film Society (UK, 1925) Iris Barry Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al. Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 The Importance of Film Archives (UK, 1948) Ernest Lindgren A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968) Committee for the Defense of La Cinémathèque française Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow Anthology Film Archives Manifesto (USA, 197) P. Adams Sitney Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick Don’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai Film Festival Form: A Manifesto (UK, 212) Mark Cousins 9. Sounds and Silence A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov A Rejection of the Talkies (USA, 1931) Charlie Chaplin A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. 10. The Digital Revolution Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf The Pluginmanifesto (UK, 21) Ana Kronschnabl Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz 11. Aesthetics and the Futures of the Cinema The Birth of the Sixth Art (France, 1911) Ricciotto Canudo Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney The Birth of a New Avant Garde: La caméra-stylo (France, 1948) Alexandre Astruc From Preface to Film (UK, 1954) Raymond Williams The Snakeskin (Sweden, 1965) Ingmar Bergman Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson Remodernist Film Manifesto (USA, 28) Jesse Richards The Age of Amateur Cinema Will Return (People’s Republic of China, 21) Jia Zhangke Appendix. What Is a Manifesto Film? Notes Acknowledgments of Permissions Index

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Book SynopsisThe long-awaited monumental monograph on the work of David Claerbout. In a conversation with Jonathan Pouthier, curator of the cinema programme of the Musée National d’Art Moderne, Centre Pompidou (Paris, France), video artist David Claerbout reflects for the first time in depth on his work of the past decade in relation to current discussions about photography, film and the virtual. The Silence of the Lens offers a unique insight into the creative process behind such recent video works as The Close, Aircraft (F.A.L.), Wildfire (meditation on fire), The Confetti Piece and The Pure Necessity. The publication coincides with the Venice Biennale 2022 and solo exhibitions in various cities including Munich, Berlin, Budapest and New York. Text in English and French.

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Book SynopsisLucy Reynolds is Senior Lecturer at the Centre for Research and Education in Arts and Media, University of Westminster, UK. She is the Editor of the Moving Image Review & Art Journal (MIRAJ), and a curator and artist. Her work has been published in Afterall, MIRAJ, Screen and Screendance. Her particular interests are questions of the moving image, feminism, political space and collective practice.Trade ReviewWomen Artists, Feminism and the Moving Image offers up a fascinating addition to theories that inform feminist film criticism as it applies to video art. Laura Mulvey, the éminence grise of feminist film studies, provides a preface, and for the collection itself Reynolds brought together essays, interviews, and even a lengthy poem. The contributors are diverse as well, including scholars, film curators, journalists, and artists. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *This book productively brings together research happening across the History of Art, Film Studies, Visual Culture and Fine Art Practice and asserts the importance of practices that have too long remained peripheral. Each of the essays offers fresh, new perspectives, providing an excellent introduction to the recent developments in the study of moving image art. -- Amy Tobin, Curator of Exhibitions, Events and Research at Kettle’s Yard and Director of Studies in History of Art, Newnham College, University of Cambridge, UKTable of ContentsForeword, Laura Mulvey (Birbeck, University of London, UK) Introduction: Raising Voices, Lucy Reynolds (University of Westminster, UK) Introduction: Certain Measures, Lis Rhodes (Artist and filmmaker, UK) Part One: Acknowledgements In Conversation: MORE: Pauline Boudry/Renate Lorenz with Irene Revell 1. In a tiny realm of her own: Lotte Reiniger’s light work, Elinor Cleghorn (Independent scholar, UK) 2. Returning to Riddles, Catherine Grant (Goldsmiths, University of London, UK) 3. 'Being a together woman is a bitch': 'An African American woman's film' genealogy of Julie Dash's Four Women (1975), So Mayer (Freelance writer, UK) 4. Film Esperienza. The work of Marinella Pirelli, Lucia Aspesi (Pirelli HangarBicocca, Italy) 5. Prescient intersectionality: Women, moving image and identity politics in 1980s Britain, Rachel Garfield (University of Reading, UK) Part Two: Engagements and Negotiations In Conversation: Maria Palacios Cruz interviews Basma Alsharif 6. 'Overexposed, like an X-ray': The politics of corporeal vulnerability in Sandra Lahire's experimental cinema, Maud Jacquin (Art historian and curator, France & USA) 7. 'Look at Mother Nature on the run in the 1970s': Penelope Spheeris's I Don't Know, Erika Balsom (King's College London, UK) 8. Aesthetics of potentiality: Nguyen Trinh Thi’s Essay films, May Adadol Ingawanji (University of Westminster, UK) 9. The art of maximal ventriloquy: Femininity as labour in the films of Rachel MacLean, Sarah Neely (University of Stirling, UK) & Sarah Smith (Glasgow School of Art, UK) Part Three: Situations and Receptions In Conversation: Club des Femmes, Helena Reckitt: An Interview on International Women's Day 2017 10. Strategies of exposure and concealment in moving image art by women; a cross-generational account, Cate Elwes (Video artist and curator, UK) 11. Choreographing women's work: Multitaskers, smartphone users and virtuoso performers, Maeve Connolly (Dun Laoghaire Institute of Art, Design and Technology, Ireland) 12. Female solidarity as uncommodified value: Lucy Beech's Cannibals and Rehana Zaman's Some Women, Other Women and all the Bittermen, Maria Walsh (Chelsea College of the Arts, University Arts London, UK) 13. Can we still talk about women artists? Melissa Gronlund (The National, USA) Bibliography Index

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Book SynopsisThe advent of new screening practices and viewing habits in the twenty-first century has spurred debate over what it means to be a “cinephile.” Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images.Trade ReviewAnxious Cinephilia is a remarkably balanced and inclusive take on our affection for images and related apprehensions. -- Jeff Heinzl * Spectrum Culture *Anxious Cinephilia gives us the most far-reaching theorization of cinephilia yet. This exploration of desire and anxiety as twin impulses unearths novel connections across film cultures, affective states, and moments of technological change, from early cinema to cinematic spectacle in the digital era. Keller produces a fascinating remapping of the shifting relationship between the spectator and the beloved object and refashions cinephilia for our anxious times. -- Belén Vidal, author of Heritage Film: Nation, Genre, and RepresentationThis quietly incendiary book makes a crucial intervention in the study of cinephilia by showing how the love of cinema has always been intertwined with anxiety. In embracing an expansive and historicized sense of cinephilia, it stands as an important corrective to previous scholarship that has far too often privileged French postwar auteurist film culture. A brilliant and ambitious work that will help spark a thousand cinema conversations. -- Girish Shambu, author of The New CinephiliaIf the x-axis of cinephile is love, then the y-axis—as Sarah Keller convincingly shows—is anxiety, fear, worry. With an acute sensitivity to the historical, phenomenological, technological, and generic ways in which this love/anxiety gets triggered, Keller provocatively deepens our understanding of the powerful, mysterious, multifaceted phenomenon we call cinephilia—and, importantly, she convincingly shows that cinephilia is not just a thing of the past but is still very much with us. Every cinephile will read this book with layers of emotional recognition. -- Christian Keathley, author of Cinephilia and History, or The Wind in the TreesAnxious Cinephilia is a meta-textual job well-done. * Senses of Cinema *Anxious Cinephilia provides a great departure point for readers to formulate their own cinephilic inquiries. * Cineaste *Table of ContentsAcknowledgmentsIntroduction1. Ardor and Anxiety: The History of Cinephilia2. Enchanting Images3. Cinephilia and Technology: Anxieties and Obsolescence4. The Exquisite ApocalypseConclusion: Anxious Times, Anxious CinemaNotesSelected BibliographyIndex

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Book SynopsisAll twelve volumes in a beautifully produced box set, perfect for Wizarding World fans everywhere.Harry Potter: Film Vault compiles the filmmaking secrets and visionary artistry behind the Harry Potter films into twelve deluxe collectible volumes. Intricately designed and packed with concept art and unit photography from the Warner Bros. archive, each volume in the series gives fans striking insights about bringing the Wizarding World to the big screen. 

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Book SynopsisThe new edition of an introduction to computer programming within the context of the visual arts, using the open-source programming language Processing; thoroughly updated throughout. The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students an

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Book SynopsisThe Video Art of Sylvia Safdie brings into focus the complete video oeuvre of a pioneering Canadian artist. Tracing the development of Safdie''s work and its implications for the future of media art, this volume provides a stunning perspective on her videos and sets a new standard for the presentation of video art in book form. Safdie''s principal video works are presented in the form of more than 200 images, selected and arranged to suggest the content, rhythm, and movement of the videos themselves. Alongside the rich illustrations, the book explores Safdie''s video art through a thoughtful introduction to the artist and two insightful critical essays. Eric Lewis relates her videos to her works in other media, considers how she poses key questions in the philosophy of art, and addresses issues concerning Jewish art and identity. He discusses the complex relationship between Safdie''s video images and the improvised music she often employs as soundtracks. An essay by music scholar and

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Book Synopsis Discover all the artistic universes fantasy illustrator Aleksi Briclot has developed in this massive monograph. There’s no way you haven’t seen his art, whether it was while watching a movie, reading a comic-book, or playing a card or a video game! Aleksi Briclot visually develops universes, stories, and characters for the greatest entertainment companies, like Wizards of the Coast, Ubisoft, Image Comics, Dark Horse, Capcom, and Marvel Studios. It is now time for this extraordinary artist to have a monograph dedicated completely to his own art. In Multiverse: The Art of Aleksi Briclot, you will find all of the artistic universes Aleksi has developed throughout his career and is continuing to expand. The 272-page art book contains all of Aleksi’s most iconic pieces of artwork, as well as his personal comments, anecdotes, and a very complete interview. This collector’s piece is presented in a sophisticated and elegant pac

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Book SynopsisSecret Citadel showcases Graeme Patterson''s spectacular and intricate multimedia installation, exploring the trials and tribulations of male friendship through a four-part sculptural/video installation and an experimental stop-motion animated narrative. Here, guided by subtle gestures and intense interactions, an anthropomorphic bison and cougar create a bond that spans all stages of maturity, playful creativity bringing them together and violent awkwardness tearing them apart.Secret Citadel prÃsente l''installation multimÃdia spectaculaire bien connue de Graeme Patterson. L''oeuvre explore les vicissitudes d''une amitià masculine, en quatre tableaux vidÃosculpturaux appuyÃs par une narration expÃrimentale sous forme d''animation image par image. Alternant gestes subtils et interactions intenses, un bison et un cougar anthropomorphes, rapprochÃs par une espiÃglerie crÃative, se lient d''une amitià qui rÃsiste jusqu''à la maturitÃ, avant d''Ãtre sÃparÃs par une brusque maladresse.

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Book SynopsisDiscover the filmmaking secrets of the goblins, hardworking house-elves, Dementors, and so much more.The Harry Potter films are packed with creatures by turns fascinating and fearsome, from the goblins of Gringotts to the Dementors of Azkaban. With detailed profiles of each creature that include concept art and behind-the-scenes photography, this volume gives fans an in-depth look at Dark creatures, such as the Basilisk that resides in the Chamber of Secrets, as well as house-elves and other working creatures. Harry Potter: Film Vault compiles the filmmaking secrets and visionary artistry behind the Harry Potter films into a series of twelve deluxe collectible volumes. Intricately designed and packed with concept art and unit photography from the Warner Bros. archive, each volume in the series gives fans striking insights about bringing the Wizarding World to the big screen.  Included in each book is a collectible art print, making this series a must-have for all Harry Potter fans and collectors everywhere.

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Book SynopsisA thought-provoking art book exploring changing landscapes through the pioneering work of Canadian photographer Sylvia Grace Borda. Sylvia Grace Borda made a substantial debut into new media and photo art when she launched Every Bus Stop in Surrey, BC. With this piece, Borda reclaimed California coastal conceptual photo strategies from the 1960s and used them to document a large Canadian city by its own transit system. This marked her entry into international recognition. Since then, Borda has undertaken epic projects to re-imagine urban spaces, from the "New Towns" of East Kilbride and Glenrothes in Scotland to modernist faith buildings in Northern Ireland. In this dazzling new monograph, Sylvias exceptional body of work is examined and placed in both a regional and international context. Specifically, her practice developed in Surrey is examined in relation to art history, the Vancouver School of Art, digital media, community engagement, and projects concluded in Scotland, Northern Ireland, and Finland. Featuring essays by renowned curators, artists, and scholars -- each presenting specific perspectives on how Bordas diverse arts practice has shifted and expanded the mediums of art, photography, and social awareness -- Sylvia Grace Borda: Shifting Perspectives constructs a conversation between the remembrance of place and current narratives in art history.

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Book SynopsisTar Wars offers a critical inside look at how leading image-makers negotiate escalating tensions between continuous economic growth mandated by a globalized economic system and its unsustainable environmental costs. As place branding assumes paramount importance in an increasingly global, visual, and ecologically conscious society, an international battle unfolds over Alberta’s bituminous sands. This battle pits independent documentary filmmakers against professional communicators employed by government and the oil industry. Tar Wars engages scholars and students in communications, film, environmental studies, social psychology, PR, media and cultural studies, and petrocultures. This book also speaks to decision makers, activists, and citizens exploring intersections of energy, environment, culture, politics, economy, media and power.Trade Review"Alberta for generations was famous for mountains, rodeos, Mormonism, football, Ukrainian culture, meatpacking and Social Credit. Say 'Alberta' today and any focus group replies, 'oil'. That’s no accident, writes Prof. Geo Takach of Royal Roads University. From the 1947 oil strike at Leduc Number One, 'resource extraction became heroic'. Alberta’s very identity was intertwined with oil sands production, for better and worse. Tar Wars documents this modern cultural phenomenon... [and] ... covers all angles. … The search is compelling and clever." -- Holly Doan * Blacklock's Reporter *"In his extensively researched and politically provocative new book, Tar Wars, award-winning author Geo Takach...offers attentive citizens, policy wonks and communications pros a solid 'case study in environmental communication.'" -- Rob Norris * Alberta Views *"... [Takach's] purpose: to depolarize and ultimately enable debate of the bit-sands and their role in defining Alberta... Tar Wars highlights two points that are seldom part of the discussion. The first is that while the antagonistic 'Alberta is energy' approach originated with industry and political leaders, the polarizing rhetoric does not represent the views of all or even the majority of Alberta residents. The second is that polarized debate limits meaningful dialogue and political engagement... Underlying is Takach’s message that we must refuse to fall into easy stereotypes of any region, including the one we live in." [Full review at https://bcbooklook.com/2017/09/29/174-lights-camera-action-debate/] -- Nichole Dusyk * BC BookLook *"This book is relevant to scholars in communication studies, specifically those with a focus on environmental communication and activism, as well as those in strategic communication, specifically PR, marketing, and branding, and obviously those in the fields of journalism and film." [Full review at https://cjc-online.ca/index.php/journal/article/view/3673/3885] -- Gordon Alley-Young * Canadian Journal of Communication Vol 44 *Table of ContentsAcknowledgements xi 1 | The Problem of the Sands 1 2 | Four Foundational Principles 17 3 | Images and Frames of Alberta 29 4 | Positioning and Contesting Alberta 43 5 | Visually Redefining Alberta 127 6 | Implications 149 Notes 167 References 193 Index 225

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Book SynopsisFilm is the art form of our times. It has formed the background of our lives, informed visual arts practices, and formed our culture’s stories, its memory.Moments of Perception is a landmark book. The first history of twentieth and early-twenty-first-century Canadian experimental filmmaking, it maps avant-garde film across the country from the 1950s to the present day, including its contradictions and complexities.Experimental film is political in its very existence, critical of the status quo by definition. In Canada, some of the country’s best-known artists took up the moving image as a form of artistic expression, allowing them to explore explicitly political themes. Mike Hoolboom’s exposure of the horror of AIDS, Josephine Massarella’s concern for the environment, and Joyce Wieland’s satiric look at US patriotism are just a few examples of work that contributed to social movements and provided a means to explore issues of race and gender and 2SLGBTQ+ and Indigenous identities.Featuring a major essay on the history of the movement by Michael Zryd and profiles of key filmmakers by Stephen Broomer and editors Jim Shedden and Barbara Sternberg, Moments of Perception offers a fresh perspective on the ever-evolving history of Canada’s experimental film and moving image media arts.Trade Review“Moments of Perception is the ideal guide for the curious and adventurous spectator.” -- Andrew Burke * Winnipeg Free Press *“Moments of Perception works as history, analysis and homage to those creators past and present who have tried to utilize tools beyond Grierson’s hammer and mirror: the camera as a painter’s canvas, a magic wand or a kaleidoscope.” -- Adam Nayman * The Star *

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Book SynopsisExclusive Memory: A Perceptual History of the Future is a compendium of descriptive, speculative prose and text-images by the Governor General’s Award-winning artist, Tom Sherman. Its contents sweep across five decades, describing radically different periods and environments — from Sherman’s early experiments in Toronto in the 1970s to his recent explorations of text and image in Nova Scotia’s South Shore. At the core of this volume is “The Faraday Cage,” a text that delivers a vivid cascade of images of the art scene in Toronto at the onset of the video era in the early 1970s. This opening chapter expands into a series of essays in which Sherman pictures a vast horizon of contexts: urban, rural, social, political, economic, and in some cases, simply a beach along the coast of the Atlantic Ocean. His ongoing and rigorous investigation into the intersections of art, technology, and life itself is grounded in the converging terrains of mediaspheres and landscapes. And then, in a quick shift of perspective enter Peggy Gale and Caroline Seck Langill, who charge the book with wide-sweeping conversations about Sherman’s practice: his use of written language and dynamic, critically engaged “pictures,” the expansive reach of his text-based visual works, and the distinctive character of his voice. The result is a provocative retrospective in book form that both demonstrates and expands upon Tom Sherman’s clear, forward-looking vision.

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Book SynopsisThis limited edition artist’s book brings together digital collages and manipulated photographs by painter James White based on the celebrated and hugely influential series 'Evidence' by Mike Mandel and Larry Sultan. In 'Evidence', Sultan and Mandel drew on the archives of more than a hundred US government agencies, finding surreal narrative suggestions in deadpan images that were intended as functional documents, upending and interrogating the documentary natures they espoused. The book has been a continual reference for the grayscale photographic paintings for which James White has become known. In this volume, White pays tribute to Sultan and Mandel’s project by further undermining the evidentiary nature of the photographic medium through a process of intervention and painterly gesture which disrupts and reconstitutes the images’ mercurial surfaces. Published as a limited edition of 1000 signed copies.

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Book SynopsisOne of Pakistan’s most notable contemporary artists, Bani Abidi creates videos and multimedia works that interweave autobiographical fiction with socio-political commentary and satire. Her practice explores the sobering realities of the political conditions, bureaucracy, and urban infrastructure in Asia, exposing the absurdities emerging from the dysfunctionalities of everyday life. The Artist Who is the first monograph to look at the work of this Berlin-based Pakistani artist. Envisioned as an artist project, the publication explores notions of humor, playfulness and experimentation by engaging with forms of writing, design, printing, and assembly. Containing a documentation of artworks created over two decades as well as archival material and a rich selection of texts, it represents the wide range of relationships Abidi has fostered during this period.

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Book SynopsisTraditional criticism on German post-war cinema tends to define rubble films as simplistic texts of low artistic quality which serve to reaffirm the spectator's image of him or herself as "a good German" during "bad times". Yet this study asserts that some rubble films are actually informed by a type of visual and narrative Romantic discourse which aims at provoking a "critical discussion" on German national identity and its reconstruction in the aftermath of the Third Reich. Considering the lack of previous analyses with regard to the key aspects of Romantic visual style, narration and literary motifs in rubble films, this study points to a major gap in research.

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Book SynopsisHow is performativity shaped by digital technologies - and how do performative practices reflect and alter techno-social formations? "Performing the Digital" explores, maps and theorizes the conditions and effects of performativity in digital cultures. Bringing together scholars from performance studies, media theory, sociology and organization studies as well as practitioners of performance, the contributions engage with the implications of digital media and its networked infrastructures for modulations of affect and the body, for performing cities, protest, organization and markets, and for the performativity of critique.With contributions by Marie-Luise Angerer, Timon Beyes, Scott deLahunta and Florian Jenett, Margarete Jahrmann, Susan Kozel, Ann-Christina Lange, Oliver Leistert, Martina Leeker, Jon McKenzie, Sigrid Merx, Melanie Mohren and Bernhard Herbordt, Imanuel Schipper and Jens Schröter.

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Book SynopsisAcoustic signals, voice, sound, articulation, music and spatial networking are dispositifs of radiophonic transmission which have brought forth a great number of artistic practices. Up to and into the digital present radio has been and is employed and explored as an apparatus-based structure as well as an expanded model for performance and perception. This volume investigates a broad range of aesthetic experiments with the broadcasting technology of radio, and the use of radio as a means of disseminating artistic concepts. With exemplary case studies, its contributions link conceptual, recipient-response-related, and sociocultural issues to matters of relevance to radio art's mediation.

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Book SynopsisBetween 2014 and 2017, the artistic research project "TransCoding - From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me.

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Book SynopsisThe relationship between economy, finance and society has become opaque. Quantum leaps in complexity and scale have turned this deeply interdependent web of relations into an area of incomprehensible abstraction. And while the economization of life has come under widespread critique, inquiry into the political potential of representational praxis is more crucial than ever. This volume explores ethical, aesthetic and ideological dimensions of economic representation, redressing essential questions: What are the roles of mass and new media? How do the arts contribute to critical discourse on the global techno-economic complex? Collectively, the contributions bring theoretical debate and artistic intervention into a rich exchange that includes but also exceeds the conventions of academic scholarship.

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Book SynopsisThis volume is a response to the growing need for new methodological approaches to the rapidly changing landscape of new forms of performative practices. The authors address a host of contemporary phenomena situated at the crossroads between science and fiction which employ various media and merge live participation with mediated hybrid experiences at both affective and cognitive level. All essays collected here move across disciplinary divisions in order to provide an account of these new tendencies, thus providing food for thought for a wide readership ranging from performative studies to the social sciences, philosophy and cultural studies.

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Book SynopsisThrough a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines historical and analytical approaches, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guidelines to art students, artists, curators and theoreticians - especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

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Book SynopsisWhat is the subject of video? Charlotte Klink traces the development of electromagnetism in the pursuit of "Electric Seeing" that emerged in the 19th century as well as its curious relation to psychoanalysis and the contemporary discovery of the structure of the human psyche. In doing so, she exposes how this development laid the foundation of what we know today as "video". This comprehensive theory of video entails a discussion of the technological, historical, and etymological roots, the media-theoretical concepts of medium and index, the philosophical and art-theoretical environment in which video emerged in the 1960s, the psychoanalytic concept of the phantasm, and artworks by artists such as Yael Bartana and Hito Steyerl.

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Book SynopsisFrom media art archeology to contemporary interaction design - the term interface culture is based on a vivid and ongoing discourse in the fields of interactive art, interaction design, game design, tangible interfaces, auditory interfaces, fashionable technologies, wearable devices, intelligent ambiences, sensor technologies, telecommunication and new experimental forms of human-machine, human-human and machine-machine interactions and the cultural discourse surrounding them. This book's aim is to give an overview of the current state of interactive art and interface technology as well as an outlook on new forms of hybridization in art, media, scientific research and every-day media applications.

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Book SynopsisThe Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film, as well as providing sufficient depth for graduate classes.Trade ReviewThe volume offers a rich and varied corpus of works that includes scholarly essays, film criticism, manifestos, interviews, letters, and personal recollections ... [the editors] have performed tremendous acts of scholarly service ... [presenting] a rich mosaic of writing on film form, politics, and practice that order the discursive field while still allowing the unruly documentary construct room to breathe. * Tanya Goldman, Cinema Journal *Table of ContentsForeword by Charles Musser ; Introduction ; I. Early Documentary: From the Illustrated Lecture to the Factual Film ; Jonathan Kahana, Introduction to Section I ; Rick Altman, "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006) ; Anonymous, "Burton Holmes Pleases a Large Audience at the Columbia" (1905) ; Kristen Whissel, "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008) ; Dai Vaughan, "Let There Be Lumiere" (1999) ; Boleslas Matuszewski, "A New Source of History" (1898) ; Tom Gunning, "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997) ; Edward Curtis et al., "The Continental Film Company" (1912) ; W. Stephen Bush, "In The Land of the Head Hunters" (1914) ; Catherine Russell, "Playing Primitive" (1999) ; Anonymous, "Movies of Eskimo Life Win Much Appreciation" (1915) ; Anonymous, "Nanook of the North" (1922) ; John Grierson, "Flaherty's Poetic Moana" (1926) ; John Grierson, "Flaherty" (1931-32) ; Hamid Naficy, "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006) ; Bela Balazs, "Compulsive Cameramen" (1925) ; Anonymous, "New Films Make War Seem More Personal" (1916) ; Nicholas Reeves, "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997) ; II. Modernisms: State, Left, and Avant-Garde Documentary Between the Wars ; Jonathan Kahana, Introduction to Section II ; Robert Allerton Parker, "The Art of the Camera: An Experimental 'Movie'" (1921) ; Siegfried Kracauer, "Montage" (1947) ; Annette Michelson, "The Man with the Movie Camera: From Magician to Epistemologist" (1972) ; Seth Feldman, "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973) ; Dziga Vertov, "WE: Variant of a Manifesto" (1922) ; Jay Leyda, "Bridge" (1964) ; Mikhail Iampolsky, "Reality at Second Hand" (1991) ; Joris Ivens, "The Making of Rain" (1969) ; Joris Ivens, "Reflections on the Avant-Garde Documentary" (1931) ; Tom Conley, "Documentary Surrealism: On Land Without Bread" (1986) ; John Grierson, "The Documentary Producer" (1933) ; John Grierson, "First Principles of Documentary" (1932-34) ; Otis Ferguson, "Home Truths from Abroad" (1937) ; Charles Wolfe, "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995) ; Samuel Brody, "The Revolutionary Film: Problem of Form" (1934) ; Leo T. Hurwitz, "The Revolutionary Film: Next Step" (1934) ; Ralph Steiner and Leo T. Hurwitz, "A New Approach to Filmmaking" (1935) ; Willard Van Dyke, Letter from Knoxville (1936) ; Ralph Steiner, Letter to Jay Leyda (1935) ; John T. McManus, "Down to Earth in Spain" (1937) ; Charles Wolfe, "Historicizing the 'Voice of God': The Place of Voice-Over Commentary in Classical Documentary" (1997) ; Steve Neale, "Triumph of the Will: Notes on Documentary and Spectacle" (1979) ; Richard Griffith, "Films at the Fair" (1939) ; III: Documentary Propaganda: World War II and the Post-War Citizen ; Jonathan Kahana, Introduction to Section III ; James Agee, Review of Iwo Jima newsreels (1945) ; James Agee, Review of San Pietro (1945) ; Thomas Cripps and David Culbert, "The Negro Soldier (1944): Film Propaganda in Black and White" (1979) ; Andre Bazin, "On Why We Fight: History, Documentation, and the Newsreel" (1946) ; Jim Leach, "The Poetics of Propaganda: Humphrey Jennings and Listen to Britain" (1998) ; George C. Stoney, "Documentary in the United States in the Immediate Post-World War II Years" (1989) ; Zoe Druick, "Documenting Citizenship: Reexamining the 1950s National Film Board Films about Citizenship" (2000) ; Srirupa Roy, "Moving Pictures: The Films Division of India and the Visual Practices of the Nation-State" (2007) ; Jennifer Horne, "Experiments in Propaganda: Reintroducing James Blue's Colombian Trilogy" (2009) ; Peter Watkins with James Blue and Michael Gill, "Peter Watkins Discusses His Suppressed Nuclear Film The War Game" (1965) ; IV. Aesthetics of Liberation: Free, Direct, and Verite Cinemas ; Jonathan Kahana, Introduction to Section IV ; Jean Painleve, "The Castration of Documentary" (1953) ; Jean Cocteau, "On Blood of the Beasts" (1963) ; Lindsay Anderson, "Free Cinema" (1957) ; Tom Whiteside, "The One-Ton Pencil" (1962) ; Edgar Morin, "Chronicle of a Film" (1962) ; Jonathan Rosenbaum, "Radical Humanism and the Coexistence of Film and Poetry in The House is Black" (2003) ; Jean Rouch with Dan Georgakas, Udayan Gupta, and Judy Janda, "The Politics of Visual Anthropology" (1977) ; Ricky Leacock, "For an Uncontrolled Cinema" (1961) ; Bruce Elder, "On the Candid-Eye Movement" (1977) ; Jonas Mekas, "To Mayor Lindsay / On Film Journalism and Newsreels" (1966) ; Jeanne Hall, "Realism as a Style in Cinema Verite: A Critical Analysis of Primary" (1991) ; Margaret Mead, "As Significant as the Invention of Drama or the Novel" (1973) ; V: Talking Back: Radical Voices and Visions After 1968 ; Jonathan Kahana, Introduction to Section V ; Robert Stam, "Hour of the Furnaces and the Two Avant Gardes" (1981) ; Juan Carlos Espinosa, Jorge Fraga, Estrella Pantin, "Toward a Definition of the Didactic Documentary: A Paper Presented to the First National Congress of Education and Culture" (1978) ; Marilyn Buck, Norm Fruchter, Robert Kramer, and Karen Ross, "Newsreel" (1969) ; Frederick Wiseman with Alan Westin, "'You Start Off With a Bromide': Conversation with Film Maker Frederick Wiseman" (1974) ; David MacDougall, "Beyond Observational Cinema" (1973/1992) ; Pauline Kael, "Beyond Pirandello" (1970) ; Pearl Bowser, "Pioneers of Black Documentary Film" (1999) ; Michael Chanan, "Rediscovering Documentary: Cultural Context and Intentionality" (1990) ; Santiago Alvarez with the editors of Cineaste, "'5 Frames Are 5 Frames, Not 6, But 5': An Interview with Santiago Alvarez" (1975) ; Abe Mark Nornes, "The Postwar Documentary Trace: Groping in the Dark" (2002) ; Emile de Antonio with Tanya Neufeld, "An Interview with Emile de Antonio" (1973) ; Annette Michelson, Reply to de Antonio (1973) ; Bill Nichols, "The Voice of Documentary" (1983) ; James Roy MacBean, "Two Laws from Australia, One White, One Black: The Recent Past and the Challenging Future of Ethnographic Film" (1983) ; Lee Atwell, Review of Word is Out (1979) ; Julia Lesage, "The Political Aesthetics of the Feminist Documentary Film" (1978) ; E. Ann Kaplan, "Theories and Strategies of the Feminist Documentary" (1983) ; Jill Godmilow, "Paying Dues: A Personal Experience with Theatrical Distribution" (1977) ; Coco Fusco, "A Black Avant-Garde? Notes on Black Audio Film Collective and Sankofa" (1988) ; Renee Tajima, Letter to Scott MacDonald (1995) ; John Greyson, "Strategic Compromises: AIDS and Alternative Video Practices" (1990) ; VI. Truth Not Guaranteed: Reflections, Revisions, and Returns ; Editor's section introduction ; Robert Sklar, "Documentary: Artifice in the Service of Truth" (1975) ; Jonas Mekas, "The Diary Film (A Lecture on Reminiscences of a Journey to Lithuania)" (1972) ; Chick Strand, "Notes on Ethnographic Film by a Film Artist" (1978) ; Michael Renov, "Toward a Poetics of Documentary" (1993) ; Trinh T. Minh-ha, "Mechanical Eye, Electronic Ear and the Lure of Authenticity" (1984) ; Brian Winston, "The Tradition of the Victim in Griersonian Documentary" (1988) ; J. Hoberman, "Shoah: The Being of Nothingness" (1985-86) ; Claude Lanzmann with Marc Chevrie and Herve Le Roux, "Site and Speech: An Interview with Claude Lanzmann about Shoah" (1985) ; Linda Williams, "Mirrors without Memories: Truth, History, and the New Documentary" (1993) ; Peter Bates, "Truth Not Guaranteed: An Interview with Errol Morris" (1989) ; Harlan Jacobson with Michael Moore, "Michael & Me" (1989) ; Thomas Waugh, "'Acting to Play Oneself': Notes on Performance in Documentary" (1990) ; Phillip Brian Harper, "Marlon Riggs: The Subjective Position of Documentary Video" (1995) ; Paula Rabinowitz, "Melodrama/Male Drama: The Sentimental Contract of American Labor Films" (2002) ; Marsha Orgeron and Devin Orgeron, "Familial Pursuits, Editorial Acts: Documentaries After the Age of Home Video" (2007) ; Vivian Sobchack, "Inscribing Ethical Space: 10 Propositions on Death, Representation, and Documentary" (1984) ; Paul Arthur, "Jargons of Authenticity (Three American Moments)" (1993) ; VII: Documentary Transformed: Transnational and Transmedial Crossings ; Jonathan Kahana, Introduction to Section VII ; Harun Farocki and Jill Godmilow with Jennifer Horne and Jonathan Kahana, "A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow" (1998) ; Rachel Gabara, "Mixing Impossible Genres: David Achkar and African Autobiographical Documentary" (2003/2013) ; Jean-Marie Teno, "Writing on Walls: The Future of African Documentary Cinema" (2010) ; Chris Berry, "Getting Real: Chinese Documentary, Chinese Postsocialism" (2007) ; Wu Wenguang, "DV: Individual Filmmaking" (2006) ; Richard Porton, "Weapon of Mass Instruction: Michael Moore's Fahrenheit 9/11" (2004) ; Scott MacDonald, "Up Close and Political: Three Short Ruminations on Ideology in the Nature Film" (2006) ; Amy Villarejo, "Bus 174 and the Living Present" (2006) ; Barbara Klinger, "Cave of Forgotten Dreams: Meditations on 3D" (2012) ; Index

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